1909 Pressoir dolive Е Horta de Sant Joan (Lusine) Pablo Picasso (1881-1973) Period of creation: 1908-1918

The composition presents a fragmented view of what appears to be a rural landscape, likely Mediterranean in character. The artist has eschewed traditional perspective and naturalistic representation, opting instead for a fractured arrangement of geometric forms. Buildings, trees, and possibly hills are rendered as interlocking planes, devoid of soft edges or blended tones.
The palette is dominated by ochres, browns, grays, and muted greens, creating an overall sense of warmth tempered by a certain austerity. Areas of intense orange punctuate the composition, drawing the eye and contributing to a feeling of visual dynamism. The use of color isnt descriptive; rather, it serves to define planes and create spatial ambiguity.
The trees, positioned centrally, are simplified into angular shapes with stylized foliage. They appear almost architectural in their rigidity, further blurring the distinction between natural and man-made elements. A tall, rectangular structure rises prominently behind them, its form echoing the geometric vocabulary of the surrounding landscape. The background is suggested by a series of overlapping planes that could represent distant hills or mountains, rendered with similar angularity.
The lower portion of the painting features a band of green, which might signify vegetation or a field. It’s not presented as a continuous surface but rather as another plane within the overall fractured structure. The dark border framing the image intensifies the sense of isolation and reinforces the feeling that we are viewing a constructed reality rather than an open vista.
Subtly, theres a suggestion of melancholy or introspection embedded in this arrangement. The lack of depth and the fragmented nature of the forms create a sense of detachment, as if the viewer is observing a memory or a dreamscape. The geometric simplification could be interpreted as a commentary on the reduction of experience to its essential components, or perhaps an exploration of how perception shapes our understanding of reality. The overall effect is one of controlled chaos and intellectual rigor, inviting contemplation rather than immediate emotional response.